"Hiroshige's exaggerated single-point perspective"

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I don't understand "Hiroshige's exaggerated single-point perspective"—where is the vanishing point supposed to be? Do the sources really say this? Curly Turkey ¡gobble! 21:09, 1 April 2015 (UTC)Reply

Yes they do. Supposedly this is part of what Hiroshige is famous for and IIRC what was adopted by ?Monet? and via him the rest of the Impressionists so that the eye is drawn to the vanishing point and when there's nothing there it then wanders around iving the 'impression' required. I suspect in this image it just means that he has made the plum tree in the foreground too big. Hiroshige definitely tends to put large objects close to the camera with then a gap before things further away. JMiall 21:22, 1 April 2015 (UTC)Reply

Famousness in lead

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I think I slightly misread or misstated the source, but the 'Oshashi Bridge & Atake in a suden shower' source claims this series is his unquestionable masterpiece and the Honolulu source says it is 'one of the best-known Hiroshige prints outside Japan' and I don't think that 'and this is perhaps the most famous print outside Japan, from what is possibly his greatest series of woodcuts.' is a terrible rewording of this to give some context to people who are reading the article without having much background. JMiall 21:29, 1 April 2015 (UTC)Reply

Hello! This is a note to let the editors of this article know that File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg and File:Vincent van Gogh - Bloeiende pruimenboomgaard- naar Hiroshige - Google Art Project.jpg will be appearing as picture of the day on September 5, 2016. You can view and edit the POTD blurb at Template:POTD/2016-09-05. If this article needs any attention or maintenance, it would be preferable if that could be done before its appearance on the Main Page. — Chris Woodrich (talk) 02:25, 21 August 2016 (UTC)Reply

Flowering Plum Tree (after Hiroshige), a copy of the ukiyo-e woodblock print Plum Park in Kameido by the Japanese artist Hiroshige. Completed in 1887, this painting is one of several Japanese-influenced works created by Vincent van Gogh after the opening up of Japan. In his copy, van Gogh ignored the shading present in the trunk and background of Hiroshige's image, which there implied age, and instead used colours with more "passion" and "youthfulness".

See Hiroshige's original versionPainting: Vincent van Gogh, after Hiroshige